U.S. Museum Exhibitions

The following guide to museum shows currently on view is compiled from Artforum’s three-times-yearly exhibition preview. Subscribe now to begin a year of Artforum—the world’s leading magazine of contemporary art. You’ll get all three big preview issues, featuring Artforum’s comprehensive advance roundups of the shows to see each season around the globe.

Pablo Picasso, Olga Khokhlova with a Mantilla, 1917, oil on canvas, 25 1/4 × 20 7/8". © Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

“Picasso: The Great War, Experimentation and Change”

THE BARNES FOUNDATION
PHILADELPHIA
Through May 9
Curated by Simonetta Fraquelli

This exhibition will be the first in the US to take on the much-debated question of Picasso’s stylistic modality, particularly the ease with which Cubism rubbed shoulders with neoclassicism in the artist’s work, both leading up to and following World War I. Bringing together some fifty works in a wide range of media, including painting, collage, works on paper, illustrated letters, stage decor, and costume design—spanning roughly 1912 to 1924—the Barnes Foundation proposes a rethinking of Picasso’s capacity to paint or draw one motif in several distinct manners, placing it in the context of the war as well as in relation to the contemporaneous output of his fellow Cubists. With its accompanying catalogue of essays by Fraquelli, Kenneth Silver, Elizabeth Cowling, and Dominique H. Vasseur, this show will bring a new dimension to a transitional phase in the artist’s prolific career. Travels to the Columbus Museum of Art, OH, June 10–Sept. 11.

Karen Butler

Louise Fishman, Untitled, 2011, acrylic on metal, 8 1/2 × 7 1/4 × 1 1/4".

“Louise Fishman: Paper Louise Tiny Fishman Rock”

ICA - INSTITUTE OF CONTEMPORARY ART, PHILADELPHIA
PHILADELPHIA
Through August 14
Curated by Ingrid Schaffner

In tandem with an independently organized retrospective at the Neuberger Museum of Art, Purchase College, State University of New York, this hometown survey of Fishman’s fifty-year-long career features the painter’s esteemed large-scale gestural abstractions alongside a selection of intimate studio investigations—an assortment of miniature paintings, sketchbooks, and small sculptures—that share the same physicality and unapologetic emotional punch as her bigger, iconic works. The exhibition’s hinge is Self-Portrait, Fishman’s 1960 self-portrait as a boxer, one of the artist’s engagements with feminism and queer identity. The show promises to reveal the rigorous material research underlying Fishman’s celebrated career, one dedicated to reclaiming the language of Abstract Expressionism, long dominated by men. The accompanying catalogue features contributions by Helaine Posner, Carrie Moyer, and Nancy Princenthal and an interview with the artist by Ingrid Schaffner, curator of the Fifty-Seventh Carnegie International.

Michelle Grabner

Vik Muniz, Sandcastle #10, 2014, digital C-print, 71 × 86 7/8". From the series “Sand Castles,” 2014.

Vik Muniz

HIGH MUSEUM OF ART
ATLANTA
Through May 29
Curated by Arthur Ollman

Best known for his elaborate copies of iconic images from pop culture and the Western art-historical canon made with materials such as garbage, chocolate sauce, and peanut butter, São Paulo–born artist Vik Muniz is now the recipient of a midcareer retrospective, consisting of 120 photographs and three sculptures, dating from 1989, the year of Muniz’s first solo exhibition in New York, to the present day. The show will also include several examples of Muniz’s recent technophilic forays into the microcosmic, including works from “Sand Castles,” 2014, which features blown-up images of castles the artist etched on grains of sand using a focused ion beam, and “Colonies,” 2014, a collection of mandala-like images of cancer cells and bacteria, both created in collaboration with researchers at MIT. A catalogue featuring an essay by the curator and an interview with Muniz by art historian Diana Wechsler accompanies the exhibition.

Brienne Walsh

Yuri Ancarani, Il capo (The Boss), 2010, 35 mm transferred to HD video, color, sound, 15 minutes. From the series “La malattia del ferro (The Malady of Iron),” 2010–12. From “Architecture of Life.”

“Architecture of Life”

BERKELEY ART MUSEUM AND PACIFIC FILM ARCHIVE (BAMPFA)
BERKELEY, CALIFORNIA
Through May 29
Curated by Lawrence Rinder

BAM/PFA celebrates the opening of its new building by Diller Scofidio + Renfro with this epic presentation of more than 250 artifacts that sit at the nexus of art, architecture, and life itself. Encompassing a heterogeneous array of objects drawn from the history of music, science, craft, religion, and experimental design, among other cultural practices, the show and its multiauthored catalogue speak to architecture’s varied connections to “forms of life.” Viewed in the context of DS+R’s remarkable structure, for which the New York–based firm sliced through an old printing plant and fused it to a dramatically foreign form, the exhibition promises to remind us that architecture not only operates to regulate spaces, bodies, and psyches in the service of cultural norms but, like art—and, one hopes, this show—can open up new, critical prospects for encountering the contemporary milieu.

Felicity Scott

“Everywhen: The Eternal Present in Indigenous Art from Australia”

HARVARD ART MUSEUMS
CAMBRIDGE, MASSACHUSETTS
Through September 18
Curated by Stephen Gilchrist

"Dreamings: The Art of Aboriginal Australia,” held at the Asia Society in New York in 1988, was a key exhibition in demonstrating that Aboriginal art was not “primitive” but modern. This show goes one step further in arguing that Aboriginal art is not modern but contemporary. “Everywhen,” a neologism adopted from anthropologist William Stanner, is a way of taking the Dreaming—the cultural and spiritual worldview of Aborigines—out of the past and placing it in the present. The show includes Pintupi artists such as Mick Namarari Tjapaltjarri, the Anmatyerr Emily Kame Kngwarreye, Sydney photographer Christian Thompson, Brisbane Conceptualist Vernon Ah Kee, and other native Australians. If New Yorker David Smith once made a work called Australia in response to Aboriginal art, and Texan Forrest Bess actually wanted to become an Aborigine, what Gilchrist seeks to prove is that Aboriginal art is not just “everywhen” but belongs everywhere.

Rex Butler